Johnson's Lives of the Poets Volume Ii Part 2

After the Royal Convert (1714) appeared Jane Sh.o.r.e, written, as its author professes, IN IMITATION OF SHAKESPEARE'S STYLE. In what he thought himself an imitator of Shakespeare it is not easy to conceive.

The numbers, the diction, the sentiments, and the conduct, everything in which imitation can consist, are remote in the utmost degree from the manner of Shakespeare, whose dramas it resembles only as it is an English story, and as some of the persons have their names in history.

This play, consisting chiefly of domestic scenes and private distress, lays hold upon the heart. The wife is forgiven because she repents, and the husband is honoured because he forgives. This, therefore, is one of those pieces which we still welcome on the stage.

His last tragedy (1715) was Lady Jane Grey. This subject had been chosen by Mr. Smith, whose papers were put into Rowe's hands such as he describes them in his preface. This play has likewise sunk into oblivion. From this time he gave nothing more to the stage.

Being by a competent fortune exempted from any necessity of combating his inclination, he never wrote in distress, and therefore does not appear to have ever written in haste. His works were finished to his own approbation, and bear few marks of negligence or hurry. It is remarkable that his prologues and epilogues are all his own, though he sometimes supplied others; he afforded help, but did not solicit it.

As his studies necessarily made him acquainted with Shakespeare, and acquaintance produced veneration, he undertook (1709) an edition of his works, from which he neither received much praise, nor seems to have expected it; yet I believe those who compare it with former copies will find that he has done more than he promised; and that, without the pomp of notes or boasts of criticism, many pa.s.sages are happily restored. He prefixed a life of the author, such as tradition, then almost expiring, could supply, and a preface, which cannot be said to discover much profundity or penetration. He at least contributed to the popularity of his author. He was willing enough to improve his fortune by other arts than poetry. He was under-secretary for three years when the Duke of Queensberry was Secretary of State, and afterwards applied to the Earl of Oxford for some public employment. Oxford enjoined him to study Spanish; and when, some time afterwards, he came again, and said that he had mastered it, dismissed him with this congratulation, "Then, sir, I envy you the pleasure of reading 'Don Quixote' in the original."

This story is sufficiently attested; but why Oxford, who desired to be thought a favourer of literature, should thus insult a man of acknowledged merit, or how Rowe, who was so keen a Whig that he did not willingly converse with men of the opposite party, could ask preferment from Oxford, it is not now possible to discover. Pope, who told the story, did not say on what occasion the advice was given; and, though he owned Rowe's disappointment, doubted whether any injury was intended him, but thought it rather Lord Oxford's ODD WAY.

It is likely that he lived on discontented through the rest of Queen Anne's reign; but the time came at last when he found kinder friends. At the accession of King George he was made Poet-Laureate--I am afraid, by the ejection of poor Nahum Tate, who (1716) died in the Mint, where he was forced to seek shelter by extreme poverty. He was made likewise one of the land-surveyors of the customs of the Port of London. The Prince of Wales chose him Clerk of his Council; and the Lord Chancellor Parker, as soon as he received the seals, appointed him, unasked, Secretary of the Presentations. Such an acc.u.mulation of employments undoubtedly produced a very considerable revenue.

Having already translated some parts of Lucan's "Pharsalia," which had been published in the Miscellanies, and doubtless received many praises, he undertook a version of the whole work, which he lived to finish, but not to publish. It seems to have been printed under the care of Dr. Welwood, who prefixed the author's life, in which is contained the following character:--

"As to his person, it was graceful and well made; his face regular, and of a manly beauty. As his soul was well lodged, so its rational and animal faculties excelled in a high degree. He had a quick and fruitful invention, a deep penetration, and a large compa.s.s of thought, with singular dexterity and easiness in making his thoughts to be understood.

He was master of most parts of polite learning, especially the cla.s.sical authors, both Greek and Latin; understood the French, Italian, and Spanish languages, and spoke the first fluently, and the other two tolerably well. He had likewise read most of the Greek and Roman histories in their original languages, and most that are wrote in English, French, Italian, and Spanish. He had a good taste in philosophy; and, having a firm impression of religion upon his mind, he took great delight in divinity and ecclesiastical history, in both of which he made great advances in the times he retired into the country, which was frequent. He expressed on all occasions his full persuasion of the truth of revealed religion; and, being a sincere member of the Established Church himself, he pitied, but condemned not, those that dissented from it. He abhorred the principles of persecuting men upon the account of their opinions in religion; and, being strict in his own, he took it not upon him to censure those of another persuasion.

His conversation was pleasant, witty, and learned, without the least tincture of affectation or pedantry; and his inimitable manner of diverting and enlivening the company made it impossible for any one to be out of humour when he was in it. Envy and detraction seemed to be entirely foreign to his const.i.tution; and whatever provocations he met with at any time, he pa.s.sed them over without the least thought of resentment or revenge. As Homer had a Zoilus, so Mr. Rowe had sometimes his; for there were not wanting malevolent people, and pretenders to poetry too, that would now and then bark at his best performances; but he was so conscious of his own genius, and had so much good-nature, as to forgive them, nor could he ever be tempted to return them an answer.

"The love of learning and poetry made him not the less fit for business, and n.o.body applied himself closer to it when it required his attendance.

The late Duke of Queensberry, when he was Secretary of State, made him his secretary for public affairs; and when that truly great man came to know him well, he was never so pleased as when Mr. Rowe was in his company. After the duke's death, all avenues were stopped to his preferment; and during the rest of that reign he pa.s.sed his time with the Muses and his books, and sometimes the conversation of his friends.

When he had just got to be easy in his fortune, and was in a fair way to make it better, death swept him away, and in him deprived the world of one of the best men, as well as one of the best geniuses, of the age.

He died like a Christian and a philosopher, in charity with all mankind, and with an absolute resignation to the will of G.o.d. He kept up his good-humour to the last; and took leave of his wife and friends, immediately before his last agony, with the same tranquillity of mind, and the same indifference for life, as though he had been upon taking but a short journey. He was twice married--first to a daughter of Mr. Parsons, one of the auditors of the revenue; and afterwards to a daughter of Mr. Devenish, of a good family in Dorsetshire. By the first he had a son; and by the second a daughter, married afterwards to Mr.

Fane. He died 6th December, 1718, in the forty-fifth year of his age, and was buried on the 19th of the same month in Westminster Abbey, in the aisle where many of our English poets are interred, over against Chaucer, his body being attended by a select number of his friends, and the dean and choir officiating at the funeral."

To this character, which is apparently given with the fondness of a friend, may be added the testimony of Pope, who says, in a letter to Blount, "Mr. Rowe accompanied me, and pa.s.sed a week in the Forest. I need not tell you how much a man of his turn entertained me; but I must acquaint you, there is a vivacity and gaiety of disposition, almost peculiar to him, which make it impossible to part from him without that uneasiness which generally succeeds all our pleasure."

Pope has left behind him another mention of his companion less advantageous, which is thus reported by Dr. Warburton:--

"Rowe, in Mr. Pope's opinion, maintained a decent character, but had no heart. Mr. Addison was justly offended with some behaviour which arose from that want, and estranged himself from him, which Rowe felt very severely. Mr. Pope, their common friend, knowing this, took an opportunity, at some juncture of Mr. Addison's advancement, to tell him how poor Rowe was grieved at his displeasure, and what satisfaction he expressed at Mr. Addison's good fortune, which he expressed so naturally that he (Mr. Pope) could not but think him sincere. Mr. Addison replied, 'I do not suspect that he feigned; but the levity of his heart is such, that he is struck with any new adventure, and it would affect him just in the same manner if he heard I was going to be hanged.' Mr. Pope said he could not deny but Mr. Addison understood Rowe well."

This censure time has not left us the power of confirming or refuting; but observation daily shows that much stress is not to be laid on hyperbolical accusations and pointed sentences, which even he that utters them desires to be applauded rather than credited. Addison can hardly be supposed to have meant all that he said. Few characters can bear the microscopic scrutiny of wit quickened by anger; and, perhaps, the best advice to authors would be, that they should keep out of the way of one another.

Rowe is chiefly to be considered as a tragic writer and a translator. In his attempt at comedy he failed so ignominiously that his Biter is not inserted in his works: and his occasional poems and short compositions are rarely worthy either praise or censure, for they seem the casual sports of a mind seeking rather to amuse its leisure than to exercise its powers. In the construction of his dramas there is not much art; he is not a nice observer of the unities. He extends time and varies places as his convenience requires. To vary the place is not, in my opinion, any violation of nature, if the change be made between the acts, for it is no less easy for the spectator to suppose himself at Athens in the second act, than at Thebes in the first; but to change the scene, as is done by Rowe, in the middle of an act, is to add more acts to the play, since an act is so much of the business as is transacted without interruption. Rowe, by this licence, easily extricates himself from difficulties; as in Jane Grey, when we have been terrified with all the dreadful pomp of public execution; and are wondering how the heroine or the poet will proceed, no sooner has Jane p.r.o.nounced some prophetic rhymes than--pa.s.s and be gone--the scene closes, and Pembroke and Gardiner are turned out upon the stage.

I know not that there can be found in his plays any deep search into nature, any accurate discriminations of kindred qualities, or nice display of pa.s.sion in its progress; all is general and undefined. Nor does he much interest or affect the auditor, except in Jane Sh.o.r.e, who is always seen and heard with pity. Alicia is a character of empty noise, with no resemblance to real sorrow or to natural madness.

Whence, then, has Rowe his reputation? From the reasonableness and propriety of some of his scenes, from the elegance of his diction, and the suavity of his verse. He seldom moves either pity or terror, but he often elevates the sentiments; he seldom pierces the breast, but he always delights the ear, and often improves the understanding. His translation of the "Golden Verses," and of the first book of Quillet's poem, have nothing in them remarkable. The "Golden Verses" are tedious.

The version of Lucan is one of the greatest productions of English poetry, for there is perhaps none that so completely exhibits the genius and spirit of the original. Lucan is distinguished by a kind of dictatorial or philosophic dignity, rather, as Quintilian observes, declamatory than poetical; full of ambitious morality and pointed sentences, comprised in vigorous and animated lines. This character Rowe has very diligently and successfully preserved. His versification, which is such as his contemporaries practised, without any attempt at innovation or improvement, seldom wants either melody or force. His author's sense is sometimes a little diluted by additional infusions, and sometimes weakened by too much expansion. But such faults are to be expected in all translations, from the constraint of measures and dissimilitude of languages. The "Pharsalia" of Rowe deserves more notice than it obtains, and as it is more read will be more esteemed.

GAY.

John Gay, descended from an old family that had been long in possession of the manor of Goldworthy, in Devonshire, was born in 1688, at or near Barnstaple, where he was educated by Mr. Luck, who taught the school of that town with good reputation, and, a little before he retired from it, published a volume of Latin and English verses. Under such a master he was likely to form a taste for poetry. Being born without prospect of hereditary riches, he was sent to London in his youth, and placed apprentice with a silk mercer. How long he continued behind the counter, or with what degree of softness and dexterity he received and accommodated the ladies, as he probably took no delight in telling it, is not known. The report is that he was soon weary of either the restraint or servility of his occupation, and easily persuaded his master to discharge him.

The d.u.c.h.ess of Monmouth, remarkable for inflexible perseverance in her demand to be treated as a princess, in 1712 took Gay into her service as secretary: by quitting a shop for such service he might gain leisure, but he certainly advanced little in the boast of independence. Of his leisure he made so good use that he published next year a poem on "Rural Sports," and inscribed it to Mr. Pope, who was then rising fast into reputation. Pope was pleased with the honour, and when he became acquainted with Gay, found such attractions in his manners and conversation that he seems to have received him into his inmost confidence; and a friendship was formed between them which lasted to their separation by death, without any known abatement on either part.

Gay was the general favourite of the whole a.s.sociation of wits; but they regarded him as a playfellow rather than a partner, and treated him with more fondness than respect.

Next year he published "The Shepherd's Week," six English pastorals, in which the images are drawn from real life, such as it appears among the rustics in parts of England remote from London. Steele, in some papers of the Guardian, had praised Ambrose Philips as the pastoral writer that yielded only to Theocritus, Virgil, and Spenser. Pope, who had also published pastorals, not pleased to be overlooked, drew up a comparison of his own compositions with those of Philips, in which he covertly gave himself the preference, while he seemed to disown it. Not content with this, he is supposed to have incited Gay to write "The Shepherd's Week,"

to show that, if it be necessary to copy nature with minuteness, rural life must be exhibited such as grossness and ignorance have made it.

So far the plan was reasonable; but the pastorals are introduced by a Proeme, written with such imitation as they could attain of obsolete language, and, by consequence, in a style that was never spoken nor written in any language or in any place. But the effect of reality and truth became conspicuous, even when the intention was to show them grovelling and degraded. These pastorals became popular, and were read with delight as just representations of rural manners and occupations by those who had no interest in the rivalry of the poets, nor knowledge of the critical dispute.

In 1713 he brought a comedy called The Wife of Bath upon the stage, but it received no applause; he printed it, however, and seventeen years after, having altered it and, as he thought, adapted it more to the public taste, he offered it again to the town; but, though he was flushed with the success of the Beggar's Opera, had the mortification to see it again rejected.

In the last year of Queen Anne's life Gay was made secretary to the Earl of Clarendon, Amba.s.sador to the Court of Hanover. This was a station that naturally gave him hopes of kindness from every party; but the Queen's death put an end to her favours, and he had dedicated his "Shepherd's Week" to Bolingbroke, which Swift considered as the crime that obstructed all kindness from the House of Hanover. He did not, however, omit to improve the right which his office had given him to the notice of the Royal Family. On the arrival of the Princess of Wales he wrote a poem, and obtained so much favour that both the Prince and the Princess went to see his What D'ye Call It, a kind of mock tragedy, in which the images were comic and the action grave; so that, as Pope relates, Mr. Cromwell, who could not hear what was said, was at a loss how to reconcile the laughter of the audience with the solemnity of the scene.

Of this performance the value certainly is but little; but it was one of the lucky trifles that give pleasure by novelty, and was so much favoured by the audience that envy appeared against it in the form of criticism; and Griffin, a player, in conjunction with Mr. Theobald, a man afterwards more remarkable, produced a pamphlet called "The Key to the What D'ye Call It," "which," says Gay, "calls me a blockhead, and Mr. Pope a knave."

But fortune has always been inconstant. Not long afterwards (1717) he endeavoured to entertain the town with Three Hours after Marriage, a comedy written, as there is sufficient reason for believing, by the joint a.s.sistance of Pope and Arbuthnot. One purpose of it was to bring into contempt Dr. Woodward, the fossilist, a man not really or justly contemptible. It had the fate which such outrages deserve. The scene in which Woodward was directly and apparently ridiculed, by the introduction of a mummy and a crocodile, disgusted the audience, and the performance was driven off the stage with general condemnation.

Gay is represented as a man easily incited to hope, and deeply depressed when his hopes were disappointed. This is not the character of a hero, but it may naturally imply something more generally welcome, a soft and civil companion. Whoever is apt to hope good from others is diligent to please them; but he that believes his powers strong enough to force their own way, commonly tries only to please himself. He had been simple enough to imagine that those who laughed at the What D'ye Call It would raise the fortune of its author, and, finding nothing done, sunk into dejection. His friends endeavoured to divert him. The Earl of Burlington sent him (1716) into Devonshire, the year after Mr. Pulteney took him to Aix, and in the following year Lord Harcourt invited him to his seat, where, during his visit, two rural lovers were killed with lightning, as is particularly told in Pope's "Letters."

Being now generally known, he published (1720) his poems by subscription, with such success that he raised a thousand pounds, and called his friends to a consultation what use might be best made of it. Lewis, the steward of Lord Oxford, advised him to intrust it to the Funds, and live upon the interest; Arbuthnot bade him to intrust it to Providence, and live upon the princ.i.p.al; Pope directed him, and was seconded by Swift, to purchase an annuity.

Gay in that disastrous year had a present from young Craggs of some South Sea Stock, and once supposed himself to be master of twenty thousand pounds. His friends persuaded him to sell his share; but he dreamed of dignity and splendour, and could not bear to obstruct his own fortune. He was then importuned to sell as much as would purchase a hundred a year for life, "which," says Penton, "will make you sure of a clean shirt and a shoulder of mutton every day." This counsel was rejected; the profit and princ.i.p.al were lost, and Gay sunk under the calamity so low that his life became in danger. By the care of his friends, among whom Pope appears to have shown particular tenderness, his health was restored; and, returning to his studies, he wrote a tragedy called The Captives, which he was invited to read before the Princess of Wales. When the hour came, he saw the Princess and her ladies all in expectation, and, advancing with reverence too great for any other attention, stumbled at a stool, and, falling forwards, threw down a weighty j.a.pan screen. The Princess started, the ladies screamed, and poor Gay, after all the disturbance, was still to read his play.

The fate of The Captives, which was acted at Drury Lane in 1723-4, I know not; but he now thought himself in favour, and undertook (1726) to write a volume of "Fables" for the improvement of the young Duke of c.u.mberland. For this he is said to have been promised a reward, which he had doubtless magnified with all the wild expectations of indigence and vanity.

Next year the Prince and Princess became King and Queen, and Gay was to be great and happy; but on the settlement of the household, he found himself appointed gentleman usher to the Princess Louisa. By this offer he thought himself insulted, and sent a message to the Queen that he was too old for the place. There seem to have been many machinations employed afterwards in his favour, and diligent court was paid to Mrs.

Howard, afterwards Countess of Suffolk, who was much beloved by the King and Queen, to engage her interest for his promotion; but solicitation, verses, and flatteries were thrown away; the lady heard them, and did nothing. All the pain which he suffered from neglect, or, as he perhaps termed it, the ingrat.i.tude of the Court, may be supposed to have been driven away by the unexampled success of the Beggar's Opera. This play, written in ridicule of the musical Italian drama, was first offered to Cibber and his brethren at Drury Lane and rejected: it being then carried to Rich, had the effect, as was ludicrously said, of making Gay RICH and Rich GAY. Of this lucky piece, as the reader cannot but wish to know the original and progress, I have inserted the relation which Spence has given in Pope's words:--

"Dr. Swift had been observing once to Mr. Gay what an odd pretty sort of a thing a Newgate Pastoral might make. Gay was inclined to try at such a thing for some time; but afterwards thought it would be better to write a comedy on the same plan. This was what gave rise to the Beggar's Opera. He began on it, and when first he mentioned it to Swift, the doctor did not much like the project. As he carried it on, he showed what he wrote to both of us, and we now and then gave a correction, or a word or two of advice; but it was wholly of his own writing. When it was done, neither of us thought it would succeed. We showed it to Congreve, who, after reading it over, said it would either take greatly or be d.a.m.ned confoundedly. We were all, at the first night of it, in great uncertainty of the event, till we were very much encouraged by overhearing the Duke of Argyll, who sat in the next box to us, say, 'It will do--it must do! I see it in the eyes of them.' This was a good while before the first act was over, and so gave us ease soon; for that Duke (besides his own good taste) has a particular knack, as any one now living, in discovering the taste of the public. He was quite right in this, as usual; the good-nature of the audience appeared stronger and stronger every act, and ended in a clamour of applause."

Its reception is thus recorded in the notes to the "Dunciad":--

"This piece was received with greater applause than was ever known.

Besides being acted in London sixty-three days without interruption, and renewed the next season with equal applause, it spread into all the great towns of England; was played in many places to the thirtieth and fortieth time; at Bath and Bristol fifty, etc. It made its progress into Wales, Scotland, and Ireland, where it was performed twenty-four days successively. The ladies carried about with them the favourite songs of it in fans, and houses were furnished with it in screens. The fame of it was not confined to the author only. The person who acted Polly, till then obscure, became all at once the favourite of the town; her pictures were engraved and sold in great numbers; her life written, books of letters and verses to her published, and pamphlets made even of her sayings and jests. Furthermore, it drove out of England (for that season) the Italian Opera, which had carried all before it for ten years."

Of this performance, when it was printed, the reception was different, according to the different opinions of its readers. Swift commended it for the excellence of its morality, as a piece that "placed all kinds of vice in the strongest and most odious light;" but others, and among them Dr. Herring, afterwards Archbishop of Canterbury, censured it as giving encouragement, not only to vice, but to crimes, by making a highwayman the hero and dismissing him at last unpunished. It has been even said that after the exhibition of the Beggar's Opera the gangs of robbers were evidently multiplied.

Both these decisions are surely exaggerated. The play, like many others, was plainly written only to divert, without any moral purpose, and is therefore not likely to do good; nor can it be conceived, without more speculation than life requires or admits, to be productive of much evil.

Highwaymen and housebreakers seldom frequent the playhouse, or mingle in any elegant diversion; nor is it possible for any one to imagine that he may rob with safety, because he sees Macheath reprieved upon the stage.

This objection, however, or some other rather political than moral, obtained such prevalence that when Gay produced a second part under the name of Polly, it was prohibited by the Lord Chamberlain; and he was forced to recompense his repulse by a subscription, which is said to have been so liberally bestowed that what he called oppression ended in profit. The publication was so much favoured that though the first part gained him four hundred pounds, near thrice as much was the profit of the second. He received yet another recompense for this supposed hardship, in the affectionate attention of the Duke and d.u.c.h.ess of Queensberry, into whose house he was taken, and with whom he pa.s.sed the remaining part of his life. The Duke, considering his want of economy, undertook the management of his money, and gave it to him as he wanted it. But it is supposed that the discountenance of the Court sunk deep into his heart, and gave him more discontent than the applauses or tenderness of his friends could overpower. He soon fell into his old distemper, an habitual colic, and languished, though with many intervals of ease and cheerfulness, till a violent fit at last seized him and carried him to the grave, as Arbuthnot reported, with more precipitance than he had ever known. He died on the 4th of December, 1732, and was buried in Westminster Abbey. The letter which brought an account of his death to Swift, was laid by for some days unopened, because when he received it, he was impressed with the preconception of some misfortune.

After his death was published a second volume of "Fables," more political than the former. His opera of Achilles was acted, and the profits were given to two widow sisters, who inherited what he left, as his lawful heirs; for he died without a will, though he had gathered three thousand pounds. There have appeared likewise under his name a comedy called the Distressed Wife, and the Rehearsal at Gotham, a piece of humour.

The character given him by Pope is this, that "he was a natural man, without design, who spoke what he thought, and just as he thought it,"

and that "he was of a timid temper, and fearful of giving offence to the great;" which caution, however, says Pope, was of no avail.

As a poet he cannot be rated very high. He was, I once heard a female critic remark, "of a lower order." He had not in any great degree the MENS DIVINIOR, the dignity of genius. Much, however, must be allowed to the author of a new species of composition, though it be not of the highest kind. We owe to Gay the ballad opera, a mode of comedy which at first was supposed to delight only by its novelty, but has now, by the experience of half a century, been found so well accommodated to the disposition of a popular audience that it is likely to keep long possession of the stage. Whether this new drama was the product of judgment or of luck, the praise of it must be given to the inventor; and there are many writers read with more reverence to whom such merit or originality cannot be attributed.

His first performance, the Rural Sports, is such as was easily planned and executed; it is never contemptible, nor ever excellent. The Fan is one of those mythological fictions which antiquity delivers ready to the hand, but which, like other things that lie open to every one's use, are of little value. The attention naturally retires from a new tale of Venus, Diana, and Minerva.

His "Fables" seem to have been a favourite work; for, having published one volume, he left another behind him. Of this kind of Fables the author does not appear to have formed any distinct or settled notion.

Phaedrus evidently confounds them with Tales, and Gay both with Tales and Allegorical Prosopopoeias. A Fable or Apologue, such as is now under consideration, seems to be, in its genuine state, a narrative in which beings irrational, and sometimes inanimate, arbores loquuntur, non tantum ferae, are, for the purpose of moral instruction, feigned to act and speak with human interests and pa.s.sions. To this description the compositions of Gay do not always conform. For a fable he gives now and then a tale, or an abstracted allegory; and from some, by whatever name they may be called, it will be difficult to extract any moral principle.